WORK

Philosopher Reza Negarestani proposes the Babylonian Assyrian demon of dust and contagion Pazuzu, a figure with an excess of wings, as instigator of ‘double flight’ “from Earth to without and from without to the Earth” (Cyclonopaedia 2008, p.114).

Extending this figuration, I propose a constellation of 3D-printed Pazuzus, renamed Pazu-goo after the recombinatory aesthetics of the workshop, as navigation device between now and deep time, inhabiting local sites to enact a flight toward universal horizons.

Working with participants from fields of architecture, design, art, engineering and biology, and the Sliperiet Fabrication Laboratory, scanned museum artefacts from around the world are collected, combined and recomposed according to the demonic morphology of Pazuzu – extended to include contagion, mutation and glitch.

The resulting additive-printed objects are proposed, within the context of the Perpetual Uncertainty: Contemporary Art and the Nuclear Anthropocene exhibition, as ‘markers’ for deep geological repository sites for long-term nuclear storage, part of collaborative strategies for communicating the sites of radioactive waste storage to future generations.

Undoing the fiction of containment of the repository project (i.e. that human/ static Earth could be maintained as a stable binary) through focus on mutation, contagion and dynamic pestilence, and using its non-bio-degradability as strategy, Pazu-goos may be found as oily Nylon relics by future scavengers (posthuman palaeoarcheology), or outlasting such endevaours, drift into oceans becoming molecular, ingested by marine organisms, entering into bio-Nylon assemblages.

Workshop participants are figured, from the perspective of deep time, as binders for this operation, lured to coalesce granular polymers as an excess of wings for this drift.

Philosopher Reza Negarestani proposes the Babylonian Assyrian demon of dust and contagion Pazuzu, a figure with an excess of wings, as instigator of ‘double flight’ “from Earth to without and from without to the Earth” (Cyclonopaedia 2008, p.114).

Extending this figuration, I propose a constellation of 3D-printed Pazuzus, renamed Pazu-goo after the recombinatory aesthetics of the workshop, as navigation device between now and deep time, inhabiting local sites to enact a flight toward universal horizons.

Working with participants from fields of architecture, design, art, engineering and biology, and the Sliperiet Fabrication Laboratory, scanned museum artefacts from around the world are collected, combined and recomposed according to the demonic morphology of Pazuzu – extended to include contagion, mutation and glitch.

The resulting additive-printed objects are proposed, within the context of the Perpetual Uncertainty: Contemporary Art and the Nuclear Anthropocene exhibition, as ‘markers’ for deep geological repository sites for long-term nuclear storage, part of collaborative strategies for communicating the sites of radioactive waste storage to future generations.

Undoing the fiction of containment of the repository project (i.e. that human/ static Earth could be maintained as a stable binary) through focus on mutation, contagion and dynamic pestilence, and using its non-bio-degradability as strategy, Pazu-goos may be found as oily Nylon relics by future scavengers (posthuman palaeoarcheology), or outlasting such endevaours, drift into oceans becoming molecular, ingested by marine organisms, entering into bio-Nylon assemblages.

Workshop participants are figured, from the perspective of deep time, as binders for this operation, lured to coalesce granular polymers as an excess of wings for this drift.

Philosopher Reza Negarestani proposes the Babylonian Assyrian demon of dust and contagion Pazuzu, a figure with an excess of wings, as instigator of ‘double flight’ “from Earth to without and from without to the Earth” (Cyclonopaedia 2008, p.114).

Extending this figuration, I propose a constellation of 3D-printed Pazuzus, renamed Pazu-goo after the recombinatory aesthetics of the workshop, as navigation device between now and deep time, inhabiting local sites to enact a flight toward universal horizons.

Working with participants from fields of architecture, design, art, engineering and biology, and the Sliperiet Fabrication Laboratory, scanned museum artefacts from around the world are collected, combined and recomposed according to the demonic morphology of Pazuzu – extended to include contagion, mutation and glitch.

The resulting additive-printed objects are proposed, within the context of the Perpetual Uncertainty: Contemporary Art and the Nuclear Anthropocene exhibition, as ‘markers’ for deep geological repository sites for long-term nuclear storage, part of collaborative strategies for communicating the sites of radioactive waste storage to future generations.

Undoing the fiction of containment of the repository project (i.e. that human/ static Earth could be maintained as a stable binary) through focus on mutation, contagion and dynamic pestilence, and using its non-bio-degradability as strategy, Pazu-goos may be found as oily Nylon relics by future scavengers (posthuman palaeoarcheology), or outlasting such endevaours, drift into oceans becoming molecular, ingested by marine organisms, entering into bio-Nylon assemblages.

Workshop participants are figured, from the perspective of deep time, as binders for this operation, lured to coalesce granular polymers as an excess of wings for this drift.